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"Smooth groove poetry set to smooth groove R&B" or
"soul-hip-hop-tinged feel music" … these are a couple of ways to describe Jill
Scott’s sensational new work. Whatever Scott may lack in total vocal control,
her maturity, her poetry jumps straight into your face addressing a full range
of love and emotion themes: from the platonic to the incidental to the
passionate to the forlornful. Each sentiment connects to an appropriate musical
production ranging from the sultry classy sounds of mainstream adult soul music,
to jazzy inflections over hip hop grooves, to inspirational beats supporting
lyrical themes that at times address issues of black feminism, unrequited love
and the multidimensional emotions of life’s complications. While the music is
always supportive if not dominant, it is Scott’s poise at connecting lyrical
literalness with a strong musical emotional element that gives this outstanding
work its strength. You’ll never find a mushy sentiment or a confused musical
phrase on this recording. It is rock solid throughout.

Hailing from Philadelphia, Scott made her first splash with
the musical group, The Roots. That ensemble offered a modern extension of some
great soul music stylists such as Marvin Gaye, Roberta Flack, Teddy Pendergrass,
Luther Vandross, and Anita Baker. And Scott rightfully carries on this music
legacy. Her work is directed toward those who understand complex emotions. By
addressing these the recording takes on a classic quality and will stand the
test of time.

One of the finest songs on this remarkable recording is "Do
You Remember." The tune is slow. The production is replete with clear background
vocals and strong support from a precise rhythmic line. Scott handles the
emotional intensity of the lyrics in the great tradition of sweet R&B singers.
Her strength at addressing this tune’s mature subject matter draws the listeners
into her mature point of view. This technique makes for a very listenable,
enjoyable and sophisticated work, which Scott carries throughout this recording.
It is well worth purchasing.

Janet Jackson
All For You
73:40

While Scott’s work reviews the complexity of relationship and
feelings, Janet Jackson’s latest work reduces everything down to the raw
physical: sex is hot and immediate, no lingering, no pondering; let’s do it now
and fast. Certainly this sentiment isn’t particularly new in music; in fact,
with a dynamic musical accompaniment and production a la Prince’s early works, a
recording aimed at these impulses can be downright magnificent. But not in
Jackson’s "All For You." Her raunchiness is distracting so as to border on the
burlesque. Besides being forced to listen to Jackson’s in-studio banter in the
opening cut, right in the middle of her sex moan showpiece "Love Scene" Jackson
complains to the producer about the song ending too soon. This stepping outside
the box is at best a distraction, at worst enough to make you throw this tripe
off the player.

Besides annoyances after annoyances, there isn’t much
musically new in Jackson’s material and certainly not the production; Jimmy Jam
and Terry Lewis have done all this before and better in Jackson’s early works
such as Control. At the heart of my disgust with this work is that Jackson tries
to seem both cute and sexually indiscriminant or "easy" (what in women only,
unfairly, is called "slutty"—just try to think of an equivalent term for men).
Cute works with coy and sexy (an image she successfully pulled off on Rhythm
Nation) but not with "easy". The result is an unconvincing mediocre product.
Although this recording is at the top of the charts, the best I can say for it
is that it is only for the true Jackson fan. To hear this sort of thing done
right on the other hand …

Missy Misdemeanor Elliot
...So Addictive
64:27

"Dog In Heat," "Lick Shots," "Get Ur Freak On," "X-Tasy."
With these titles it is clear that Missy Elliot is much more in your face than
Janet Jackson could ever be. And upon listening, it becomes clear that producer
Timbaland knows just how to wrap Missy’s strong voice with the "beats" of rap.
The result is a recording that is on one hand is catchy and danceable, on the
other lyrically provocative and vocally convincing to attract a wide audience
... if it can get air play.

The strength of this recording lies in its musical diversity.
Opening with a slow R&B ballad, it quickly powers into the hot rap funk of "Dog
In Heat." "Lick Shots" is sprinkled with electronica. "Get Ur Freak On" is a
straight-ahead bhangra south Asian masterpiece. "Scream a.k.a. Itchin’" has all
the beats one wants to hear. It also clearly showcases Missy Elliot’s vocal and
stylistic range.

The appeal of this work lies in many areas: the music and
production is strong and convincing, touching many musical arenas thus many
different aesthetics. Missy Elliot can sing. And she speaks the truth, that is,
where Jackson uses sex as an allure, Elliot uses it as a weapon, something to
wield, something that is real not coyly toyed with. All these elements make a
lasting and excellent impression.